Friday, April 19, 2019

A guide to Florence Price

We introduce you to the composer who became the first
African-American woman to have a symphony performed by a major American
orchestra

Florence B Price,
née Smith, was a composer, pianist and organist, thought to be the
first female symphonist of African-American heritage. She composed over
300 works – symphonies, chamber works and songs noted for their lush
orchestration and enchanting lyricism – that were performed by leading
orchestras and performers, including the Chicago Symphony Orchestra and
contralto Marian Anderson.

So why has such a figure
remained on the fringes of 20th-century music? In 1,000 years of
classical musicology, there is barely a mention of composers of colour,
even though these musicians have contributed significantly to the
evolution of the genre. Florence Price is just one of a plethora of such
composers that have been overlooked.

Upbringing

Price’s life was typical of that
lived by middle-class African Americans at the turn of the 20th century.
The youngest of three, Florence was born in Little Rock, Arkansas on 9
April 1888 to James and Florence Irene Smith. It was a time when anyone
of African heritage in North America was seen as an under-class, no
matter their status, so the impact of her remarkable parents can never
be underestimated.

The young Smith’s mother was a wily
entrepreneur who ran a restaurant, sold property and served as secretary
of the International Loan and Trust Company. She was also a music
teacher and taught her daughter the piano. Florence’s father, Dr James
Smith, was a notable dentist and inventor of patented dental implements.

He
was possibly the only African-American dentist in Little Rock at that
time and, because of his colour, had to overcome innumerable hurdles to
qualify. He was also a successful painter who exhibited at the Columbian
Exposition in Chicago in 1893.

Florence Smith, however, grew up at a time and place in the American
South where middle-class African-American families could at least
progress to a limited degree, which was certainly not the case for
African Americans in other parts of the US. It may have been a
coincidence, but a comparably noted African-American composer, William
Grant Still, was one of Price’s classmates. Charlotte Stephens, who over
a 70-year teaching career influenced many notable alumni in other
fields of endeavour, taught both Smith and Still, as well as the
equally-noted composer, William Dawson.

Clearly gifted, the Smith
family was considered to be one of the ‘10 percenters’, people that,
according to the Harlem Renaissance philosopher and activist W. E. B. Du
Bois, had benefited from a classical education and who had the
potential to lead American society.

At their Little Rock home,
Smith’s parents hosted many gatherings of African-American
intelligentsia, including the piano prodigy ‘Blind’ Tom Wiggins, Du Bois
himself and educator Booker T Washington. The young Florence, steeped
in the tenets of the Harlem Renaissance that coursed through the veins
of the ‘10 percenters’, entertained her parents’ high-profile guests on
the piano.

It was an exciting time, with the blossoming of an
African-American belief in equal opportunity and equal cultural value as
promoted by the fiery Jamaican pan-Africanist orator Marcus Mosiah
Garvey, who toured 38 US states in the early 20th century.

Pursuing music

At the age of 14, Smith graduated as
high school valedictorian and two years later, in 1903, left Little Rock
to attend the New England Conservatory of Music in Boston,
Massachusetts where there were only one or two other students of colour
(she won her place after following her mother’s advice to present
herself as being of Mexican descent).

In just three years at the
conservatory, she gained a soloist’s diploma in organ and a teacher’s
diploma in piano, and she was the only one of 2,000 students to pursue a
double-major in organ and piano. The principal, George Whitefield
Chadwick, encouraged Florence to compose, which turned out to be
life-changing advice. She took lessons in composition and counterpoint
with composer Benjamin Cutter in her spare time and her early works
included pieces for piano and organ.

After graduating, Florence Smith returned to the American South to
teach in the town of Cotton Plant at the Arkadelphia Presbyterian
Academy for a year and then at Little Rock’s Shorter College. In 1910
she moved to Atlanta, Georgia and soon became head of the music
department at Clark University, staying there until 1912. It was, again,
a tremendous achievement for a woman at that time. Smith returned to
Little Rock in 1912 to marry attorney Thomas Jewell Price on 25
September.

The couple had two daughters and one son, who died in
infancy. Price (now her married name) was heartbroken and composed the
song To My Little Son in remembrance of him. Her husband worked
with the highly respected law firm owned by Scipio Jones, known for
successfully defending the appeals of 12 black men sentenced to death
following the Elaine Massacre of 1919.

Facing prejudice

The notorious Jim Crow law
(1877-1954) permeated life in the American South at the time and kept
African Americans subjugated and voiceless. Any aspiration was stifled
and achievements negated in American daily life.

So despite her
qualifications, Price was denied membership to the Arkansas State Music
Teachers Association. Instead, she established her own music studio,
teaching the piano, music theory and composing short teaching pieces for
her students. Additionally, to counter her rejection, she founded the
Little Rock Club of Musicians. But racial problems continued to escalate
in Little Rock, leading to the lynching of several African-American men
in 1927. The Prices fled to Chicago for their safety and for a better
quality of life.

Price’s husband, however, had difficulty finding
work in Chicago, and financial struggles led to their divorce in 1931.
Price became a single mother to her two daughters and, to make ends
meet, played the organ for silent film screenings and wrote popular
songs for WGN radio ads under the pen name Vee Jay.

Beginnings of success

She joined the R
Nathaniel Dett Club of Music and the Allied Arts to gain friendships
with like-minded musicians and artists and continued her composition
studies at institutions such as the American Conservatory of Music, the
Chicago Teachers College, the University of Chicago and the Chicago
Musical College. While studying composition and orchestration with Carl
Busch and Wesley LaViolette, her beginner piano pieces were published by
G Schirmer and the McKinley Music Company.

All the while, Price
continued to enter composing compositions with some success, including
newly-established awards for black musicians and second place in the
1925 and 1927 Holstein Prize for composition. Eventually, her concert
music came to the attention of one of her teachers, the composer and
organist Leo Sowerby, who became one of her great champions.

In
1932 her big break finally arrived when she won several prizes at the
Wanamaker Music Composition Contest: first prize in the orchestral
category for her Symphony in E minor (1931-2), first prize for her Piano
Sonata (1931) in the solo instrumental category, with the orchestral
work Ethiopia’s Shadow in America and the Piano Fantasie mentioned in dispatches.

Her successes attracted the attention of Frederick Stock, the music
director of the Chicago Symphony Orchestra. He conducted a performance
of her First Symphony with the CSO on 15 June 1933 at the Century of
Progress Exhibition, and Price became firmly established as a composer
of note and the first black women in American history to have a
symphonic work performed by a major American orchestra. ‘It is a
faultless work,’ wrote The Chicago Daily News, ‘a work that speaks its own message with restraint and yet with passion … worthy of a place in the regular symphonic repertory.’